• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.273-302
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• 2022

This paper aims reinterpreting and reflecting on the current status and problems with the various contents that have developed through Jeongeupsa (井邑詞, Jeongeup Lyrics) in order to enhance the local and cultural value of Jeongeupsa within the broader context of classical poetry. The results of this research are as follows: First, I raised the questions by summarizing previous studies on the interpretation of Jeongeupsa. The view of Jeongeupsa as songs about the jealousy and anger of wives is highlighted, and the view of the wives' desire for their husbands' safety is confirmed to be passive portrayals of women. These two interpretations raise questions about the extent to which Jeongeupsa remain relevant to local cultural content of today. Second, it was understood that Jeongeupsa shows a mature attitude that does not indicate spatial separation from the subjects in the poem. This is shown via the absence of those subjects, and further shows an active and subjective attitude of waiting. Therefore, it was deemed that there is room to reconsider to the categorization of Jeongeupsa as lewd songs. Third, the contents generated through Jeongeupsa are buried in feelings of sadness and anger. Thereby, the contents have not guaranteed the health of Jeongeupsa. In order to promote Jeongeupsa as a source of local and cultural content, the positive value of Jeongeupsa must be enhanced.

• Sijohaknonchong
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• v.19 no.1
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• pp.127-153
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• 2003

In early Josun(朝鮮) era, the scholars, genteels, and high officials in Josun dynasty paid attention to Sijo(時調) who hoped Josun society would share Confucian values. Sijo poems written by them are based upon Confucian ideology, giving an opportunity to its members to make sure their homogeneity and helping Josun dynasty sustain its regime. Gyongichega(景幾體歌) has, however, already failed to be an appropriate genre to do these functions. Nevertheless, in the late Josun dynasty when there were agitation in class hieracy, development of currency economics, maldistribution of wealth, and pursuit of enjoyment, obscene poems turned out. Consequently these songs contributed to encroaching and eventually destroying the Josun dynasty. The question that who are in charge of creating and enjoying Sasulsijo(辭說時調) cannot be answered by approaching it in the social class point of view. The range of the maker or the reader of Sasulsijo in the late Josun dynasty was much more extensive than that in the early times. Not only aristocracy or the middle society but even some of the lower class may have made and enjoyed those songs. In the meantime, it is singer-songwriters whom Park, Hyogwan blamed for their profiteering abuse of obscenity that is supposed to have been mainly reponsible for the creation of those songs. Siga is a double-edged art in its essence--the good and the bad. The lewd songs were, in the early Josun, strictly controlled but in the late Josun dynasty, were thriving due to social changes. In this context, songs based on Confucian ideology as well as the ones focused on sexual love became decayed along with the collapse of the Josun dynasty. Even though, in the light of the history of Siga, those two types of Siga are underestimated in its artistic value, they have very special social historical meaning in doing positive and negative functions for existence and destroy of the Josun dynasty.

• (The) Research of the performance art and culture
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• no.33
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• pp.59-95
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• 2016

The purpose of this study was to examine the text and musical characteristic of , a changgeuk (a Korean traditional opera), by the National Theater of Korea, which was performed overseas with the title of and recognized its artistic values home and abroad alike, focusing on the process of its rebirth from a lost pansori. A changgeuk was dramatized from a lost pansori into a Korean traditional opera. In the process of rebirth of , the content of latter half, which is the performance of a funeral service for the deceased Byeongangsoe, was deleted, and the contents of Ongnyeo's fight against jangseungs in order to take back Byeongangsoe was newly inserted, thus creating textual changes. In addition, as the title presents, Ongnyeo is no longer a conventional lewd woman, but a subjective and independent female who is fighting against fate, different from its original perspective in which the leading character is Byeongangsoe. All the sounds of a changgeuk were made by the creative technique of traditional Korean songs through various attempts, such as inserting chords between performers in order to present most appropriate songs for the opera, namely proper sounds for the hidden side of the opera. In addition, according to the change of mind of performers or characters, the tone and vocal sound of the song were different. In particular, a changgeuk attempted a variety of techniques in the accompaniment of music, and used many sound buks or diverse genres such as popular music, waltz, classic and folk songs of every province, thus presenting challenging attempts. These attempts made the opera more abundant and helped it to be expressed realistically and dramatically. As above, the contents of a changgeuk were borrowed from classical narrations, but its musical aspects got off the technique of traditional changgeuk, thus attempting various changes and techniques. In this vein, it presented a novel modality of changgeuk equiping with the characteristic of 'reviewing the old and learning the new,' thus proposing the directivity and possibility of changgeuk in the present society.